nctj - select portfolio (condensed)

Transcription

National Council for the
Training of Journalists
National Council for the Training of Journalists
This is to certify that
James Dean Garside
has obtained a
Level 3 Diploma in Journalism
and has been awarded credit for the following units:
T/602/4244
K/602/4239
H/602/4238
Y/602/4236
L/602/4234
D/602/4237
K/602/4242
J/602/4233
Level 3
Level 3
Level 3
Level 3
Level 3
Level 3
Level 3
Level 3
Issue date: 31 July 2012
15
15
20
9
9
7
7
7
credits
credits
credits
credits
credits
credits
credits
credits
Teeline Shorthand for Journalists 60wpm
News
Reporting
D
Multimedia Portfolio for Journalists B
Essential Public Affairs for Journalists C
Essential Media Law for Journalists A
Media Law Court Reporting B
Production Journalism B
Business of Magazines A
Candidate URN: 134576
(jm~
Joanne Butcher
Chief Executive
Regulated by
NCTJ Training Ltd
QN. 501/1103/6
OfQUQl
'
Llywodraeth Cymru
Welsh Government
/S
Rewarding Learning
1193
■
net
National Council for the
Training of Journalists
Diploma in Journalism
This is to certify that
James Dean Garside
has achieved the following:
Shorthand at 60 wpm
Joanne Butcher
Chief Executive
Pass
11 May 2012
NCTJ Training
All seven preliminary certificates must be achieved, including 100wpm shorthand, to be eligible for the National Certificate Examination
DIPLOMA IN JOURNALISM
PORTFOLIO
A record of training and experience
Name: :3fcW£^....&
Centre: 3I2L&^
w w w. n c t j . c o m
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All rights reserved. No part of this publication may be reproduced, stored in any retrievable system or
transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise,
without the prior permission of the National Council for the Training of Journalists.
© National Council for the Training of Journalists 2011/2012
net
STUDENT DETAILS
TO BE RETAINED IN THE PORTFOLIO
N a m e ^ J r M ! E S . . . ( 3 r B ^ S . ( . S ^ r. D a t e o f b \ x V t x ^ M . 1 . 9 . ^ . 1 . I I . ~ 7
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Diploma in Journalism mandatory exams: dates and results (if known)
Reporting
E s s e n t i a l P u b l i c A ff a i r s . . . . ! 2 j 4 r. / ^ / . . l . ^ r. S ^ r.
Essential Media Lavi.../2rrA../.3.J.l^Lr. jRf
Shorthand speeds achieved: dates and results (if known)
NCTJ shorthand exams:
60 wpm: ..i|./S././.^..P.a5^
70 wpm:
80 wpm:
^y
90
wpm:
100 wpm:
110 wpm:
120 wpm:
Portfolio date submitted and result (if known)
Diploma in Journalism Specialist Options: dates and results (if known)
Media Law Court Reporting ^]../..Q../.l...W. JO. ,
Videojournalism
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NCTJ PORTFOLIO
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ASSESSMENT SUMMARY
t
Candidate name:
ELEMENT
^ J
MARK
STORY/FEATURE 1:.
1^-718
STORY/FEATURE 2:.
i3>/18
STORY/FEATURE 3:.
1^18
STORY/FEATURE 4:.
*r/18
STORY/FEATURE 5:.
l3>/18
STORY/FEATURE 6:.
l\ 718
STORY/FEATURE 7:.
H 718
STORY/FEATURE 8:.
_L1/18
STORY/FEATURE 9:.
10/18
PA NEWS FEATURE:
0^/28
PRESENTATION:
S 710
* TOTAL:
i3Z. /200
GRADE.
•
•
•
•
•
•
A
B
C
D
E
F
70+
60-69
50-59
40-49
30-39
0-29
marks
marks
marks
marks
marks
marks
ASSESSOR'S COMMENTS.
A.
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* Divide total by two to give overall percentage mark. Half marks are rounded up to the nearest
whole number.
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WORK EXPERIENCE SUMMARY
(Including placements undertaken before start of course)
DATES: Fmm2j£./§.JJ.Jz? to jfL.J.fy.12-. DAYS COMPLETED:^..1^^^^?
P U B L I C AT I O N : . / M 2 0 ^ . S L J ^ ^
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PUBLICATION:
WORKPLACE ASSESSOR
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57
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NCTJ
PORTFOLIO
WORK PLACEMENT ASSESSMENT
To be completed by the editor or other assessor
Photocopy this page before filling it in so you have copies for all placements
Student's name: ."3M!£_.GL4&i(jPj£
Publication: .££.§"«.££
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Job title: C..».££ $.H%. ^..rMrr.
P l a c e m e n t d a t e s : l ± : J O j j Z . . . r ^ A . : l ( . : J . 2 r.
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Please rate on a scale of 1-5 (£i = Very Good, 1 = Needs Major Improvement)
The student
Student's work:
Appearance
5
4
3
2 1
Writing
5
4
3
2
1
Self-discipline
Commitment
5
4
3
2 1
Interviewing
5
4
3
2
1
(£)4 3
sP4 3
2 1
Output
5
4
3
2
1
2 1
Speed
5
4
3
2
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04 3
2 1
Accuracy
Flair
(5) 4 3 2 1
5 4 3 2 1
Overall impressionFs)?© 3
2 1
Initiative
Team player
Digital awareness
2 1
Please give constructive comments about the student's performance.
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This student has completed a workjtlacement at my publication.
Assessor's
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59
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EMPLOYER ASSESSMENT
To be completed by the editor or training officer for trainees who are already
working on a newspaper or similar publication ONLY.
Photocopy this page before filling it in so you have copies if you move publications.
Trainee's name:...Â.M.^5....C;^r6.^.!.E>.G
Publication:....M.£M£^^
Employed from:...2S./.Q^./.cÔl.a 7r....Q&./...Q.b..J..£Q)..3..
Editor/Training officer's name:...ALICE &.E&SB.S*
Jobtitle:....T±QÎ}..C^
Please rate on a scale of 1-5 (5> = Very Good, 1 = Needs Major Improvement)
The trainee
Trainee's work:
5 0 3
04 3
2
1
Writing
2
1
Commitment
Q?) 4 3
2
1
Interviewing ( 5 ) 4 3 2 1
5 (4) 3 2 1
Output
Initiative
0 4 3
2
1
Speed
5 4 3 (2) 1
(y 4 3
©4 3
2
1
Accuracy
5 0 3 2 1
2
1
Flair
5 (T) 3
2
1
Appearance
Self-discipline
Team player
Digital awareness
Overall impression
5(jf) 3 2 1
0 4 3 2 1
Please give constructive comments about the trainee's performance.
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This trainee is employed by my publication.
Date
Editor/Training Officer signature
Q&./..Qk/^Q.J.^.
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STORY7FEATURE 1
Stories: original copy from one real-world story is required, with the cutting or web page print-out if
published or the final redrafted copy if coursework. Submissions are marked on intro, story
structure, balance, writing style, quotes, legal and ethical awareness, and use of English. Evidence
of initiative in sourcing the story will also be rewarded.
Features: should be substantial enough to demonstrate the candidate's ability to source material,
interview contacts, and gather facts in support of opinion. Contentious material should, where
possible, present both or several views. Cuttings should carry the candidate's single byline.
Evidence of initiative in sourcing the story will also be rewarded.
Video and audio: submissions are marked on appropriateness of the subject matter and
viewability/audibility.
STORY7FEATURE HEADLINE (if applicable).!0^.(2X^.(2^
2
PUBLISHED llQS^^
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STUDENT'S DESCRIPTION AND COMMENTS
SUGGESTED ILLUSTRATIONS (if appropriate)." ^ "^"
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ASSESSMENT
[14-18 Good, 9-13 Satisfactory, 1-8 Poor, 0 Unacceptable]
MARK OUT OF 18....l2~...
ASSESSOR'S COMMENT
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ASSESSOR'S NAME (please print)
ASSESSOR'S SIGNATURE
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Coursework / Court Reporting / James Garside / 26/1/12 / FINAL DRAFT
Court Reporting
A woman who stole food from Marks & Spencer in front of two police officers was given a
three-month supervision order at Brighton Magistrates Court today.
Alice Walker, 37, of Acacia Avenue, Brighton, pleaded guilty to stealing salad, vegetables
and cheese worth £12 from the BP garage Marks & Spencer in Hanover Road, Brighton.
John Smith, prosecuting, said Walker entered the supermarket at 11.30pm on December 22
where two police officers saw her hiding goods under her jumper before attempting to leave
without paying.
When apprehended by the officers she offered to pay for the food. A police search revealed
she had £11.88 worth of stolen goods and £44 in cash.
Mr Smith said Walker had previous convictions including 63 counts of theft, having been
fined for shoplifting the day before the offence took place.
Joan Harrison, defending, said Walker had been drinking while on prescription medication
and, to use Walker's own words, was "out of if at the time of the offence.
Mrs Harrison, citing extenuating personal circumstances, said Walker had a 17-year-old-son
and had been in custody for lengthy drug addiction due to an abusive relationship.
Walker was remorseful for the offence, had engaged voluntarily with social services and had
remained drug free.
Michael Stevens, the district judge, gave Walker credit for her guilty plea. She was given a
three-months supervision order on condition of attending 10 further drug rehabilitation
sessions.
35
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STORY/FEATURE 2
published or the final redrafted copy if coursework. Submissions are marked on intro, story
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STORY/FEATURE HEADLINE (if applicableJ.i^.TTlb^..^
PUBLISHED IN^fclie*^
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STUDENT'S DESCRIPTION AND COMMENTS
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ASSESSOR'S COMMENT
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Art Exhibition Review / Goff / James Garside / FINAL DRAFT / 1
Robert Goff: An Etcher in the Wake of Whistler
29 November 2011 to 29 April 2012
Brighton Museum, Prints & Drawings Gallery
Review by James Garside
Japanese villagers walk heads-bowed as they pass through a Torii gate and
descend to the river, where a boat waits in the shadow of Mount Fuji.
The gates are painted black and vermilion and often stand at the entrance of
Buddhist temples and Shinto shrines to mark the passage between the sacred and
the profane.
Here it also marks passing from Robert Goff s eye into history, as this one of the
artist's only surviving watercolours, and the standout piece in Brighton Museum's
stunning collection of his work.
Robert Goff (1837-1922) travelled to Japan with the army in 1877, towards the end
of his military career, and his pictures of Asia are rare.
Goff is best known for the compositional and technical excellence of his etchings, but
it's the muted watercolours and half-finished sketches that are the most emotive.
In a rare exhibition of his work, there is a broad selection from his travels, including
views of life in Venice, Florence, Holland, Japan, Switzerland, and the English coast
including Brighton and Hove.
Goff was a mainstay of the Brighton and Hove art scene and lived in Hove on the
east side of Adelaide Crescent for almost 33 years from 1889 to1903.
Art Exhibition Review / Goff / James Garside / FINAL DRAFT / 2
Goff relocated to Italy in 1903, with his second wife Clarissa, but kept his purposebuilt artist's studio on Holland Road until he died in 1922.
Brighton was his favourite subject - especially sea-views of Brighton, Hove and
Shoreham - and the etchings of The West Pier, Brighton Sands, and The Metropole
Hotel are among his finest work.
On show with his Brighton work there are famous etchings of Bethesda and Itchen
Valley and several rarely displayed Tuscan studies of flowers and trees.
Despite having received no professional training in his lifetime, Goffs etchings
frequently draw comparison to James McNeill Whistler, who popularised the form.
But like the brief outlines and smudged silhouettes of people in his pictures, the artist
is worthy of more attention.
The exhibition runs until the end of April.
37
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STORY/FEATURE 3
published or the final redrafted copy if coursework. Submissions are marked on intra, story
STORY/FEATURE HEADLINE (if applicable).^!!Dd.(.C^...yIZ^Y/.T^ÔPV/^
PUBLISHED IN..8#.1£Q4K^
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ASSESSOR'S COMMENT
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Music Review / Thin Lizzy, The Dome / Brighton Noise / James Garside / FINAL DRAFT
Thin Lizzy, The Dome, February 3rd' James Garside
In their heyday 70s heavy metal legends Thin Lizzy played to packed-out stadiums.
But the band hasn't released a studio album since 1983 (Thunder and Lightning'),
split after they played their last gig in 1984, and hasn't produced any new material
since the tragic death of frontman Phil Lynott, their founding member and principal
songwriter, in 1986. The band has existed in various incarnations since then, mostly
as a tribute to Phil Lynott and always playing the Thin Lizzy back catalogue. Almost
thirty years later, the current lineup are on tour, still playing all the hits, but amid talk
of recording new songs. With support from Triggerfinger and Clutch, the boys are
back - it's just a question of why.
TRIGGERFINGER
Brighton Dome Concert Hall is the politest rock venue I've ever been to.
Self-confessed 'warm-up party' Triggerfinger kicked off in grand style with an
excellent blues rock set drawn in equal measure from their last three albums.
Highlights included 'I'm Coming for You', 'On My Knees', 'Short Term Memory Love',
and 'All This Dancin' Around.' Lead vocalist and guitarist Ruben Block was laid back
and charming throughout, changing guitars after almost every song; accompanied by
'Monsieur' Paul Van Bruystegem on bass and Mario Goossens on drums (possibly
the happiest drummer on the planet, not least because he got to do a drum solo).
These Belgian rockers may have been described as "the loudest band in Antwerp",
but what spoke loudest of all was their rapport with the audience and with each
other. When the power went during 'My Baby's Got a Gun' and the emergency lights
came on, they'd already won the crowd's approval, and kept going whilst everybody
clapped in time over a silent guitar solo.
CLUTCH
Judging by the number of their t-shirts in the crowd, you'd think that Clutch were the
main event; but they made gracious special guests and took the whole thing in their
stride. Known for their rabid fans and relentless touring, Clutch are often said to play
more than a hundred gigs per year. Neil Fallon (vocals and guitar), Tim Suit (guitar),
Dan Maines (bass), and Jean-Paul Gaster (drums), ploughed through the set, and it
was heads down, no nonsense, serious business all the way. Proceedings came to a
halt when an amp exploded, but unlike Triggerfinger, there was little interaction with
the crowd. The frontman Neil Fallon just said his stand-up routine wasn't up to much
and asked them to bear with it, before they shrugged and continued playing.
Clutch started as a hardcore punk band but has always experimented, with
influences ranging from stoner rock to hard-rock blues and each album getting
progressively harder to describe. They're bluesy as hell right now, and it would've
been great to hear more from the early albums, or at least to make room for the
humour and swagger of a couple of standout tracks like 'A Shogun Named Marcus'
and 'Big News I.' Clutch are a headline act in their own right, and would've benefited
from a much longer set. It's clear they could have kept going the entire night. They
finished with a blistering performance of 'Electric Worry' from the 2007 album 'From
Beale Street to Oblivion' that had even gnarly old guard metallers shouting the
chorus, so it looks like they made some new friends. If you ask the kids wrecking at
the front, Clutch didn't support Thin Lizzy; it's the other way around.
THIN LIZZY
After power cuts and exploding amps, the only things that went off during Thin
Lizzy's set were pyrotechnics. They started appropriately enough with the raucous
'Are You Ready* (To Rock), but with a smoke machine, lasers, bright lights, and a
flashing 'Thin Lizzy' sign, for all the monsters-of-rock posturing it sometimes felt like
watching accomplished musicians play Guitar Hero. When it comes to putting on a
show, Thin Lizzy's amp goes up to eleven. It's easy to be cynical, but far better to
kick back and enjoy the party - and Brighton Dome Concert Hall was packed out
with a friendly and enthusiastic crowd, determined to do just that.
Ricky Warwick, former frontman of The Almighty, did a commendable job on vocals.
It must be difficult to take the place of such an idolised frontman, but his powerful
voice and distinct Irish lilt lends itself well to the songs, without the need for imitation.
Warwick joined the Thin Lizzy family in 2010 at the behest of guitarist Scott Gorham,
and has been embraced by the fans. Gorham is a mainstay of the band and in many
ways has become the custodian of their legacy, having instigated the reformation
and worked on the remastered Thin Lizzy back catalogue. The current lineup is
completed by stalwart Thin Lizzy members Brian Downey (drums) and Darren
Wharton (keyboards and backing vocals), alongside more recent recruits Marco
Mendoza (bass) and Damon Johnson (guitars).
What's most impressive is just how well Phil Lynott's songs have aged. Mendoza
and Johnson were put to good use in a set that included 'Jailbreak', 'Bad Reputation',
'Don't Believe a Word', and 'Killer on the Loose.' The pace shifted for 'Dancing in the
Moonlight', then 'Massacre' and 'Angel of Death.' It was genuinely touching to see
couples dance to 'Still in Love With You', and when 'Whiskey in the Jar' followed I
sang my heart out along with everybody else. 'Sha La La', 'Suicide', 'Waiting for an
Alibi', and 'Cowboy Song' also did the rounds, and when foil confetti rained down on
the crowd during 'The Boys Are Back in Town' it looked like the party was over. But
Jack Moore made a very special guest appearance for the encore, and played a
stirring rendition of 'Emerald' dedicated to the memory of his father and Phil Lynott.
Gary Moore, a legendary musician and longtime guitarist with the band, sadly died in
February 2011. The evening ended with a cover of Bob Seger's 'Rosalie' and the
epic 'Black Rose.'
You can't help wondering what could have been. Had Phil Lynott lived and the band
stayed together, they'd probably have changed to the point of being unrecognisable
now. The current lineup gives a solid Thin Lizzy performance, but there's so little left
of the original band that you'd be forgiven for hoping that if they do record new
material, it's under a different name. Still, it's hard to argue with a concert hall full of
devoted Thin Lizzy fans; and they'd probably kick the shit out of you if you did. Thin
Lizzy may be a tribute act, but they're a fitting tribute nonetheless. Few bands are
more deserving of their place in rock history, and it's a testament to Phil Lynott's
songwriting that the band and the fans have kept his memory alive this long. For one
night, Brighton was Phil's town - it's just a pity he wasn't there to see it.
39
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STORY/FEATURE 4
STORY/FEATURE HEADLINE (if applicable)Mf!^^
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Blog Post / Nanowrimo / James Garside / FINAL DRAFT/ 01/04/2012 1
Nanowrimo Boot Camp - a quick and dirty guide to surviving national novel
writing month for lazy writers
James Garside
It's nanowrimo again - the time of the year when all common sense goes out of the
window and you try to write a novel in a month. Just for kicks. Nanowrimo is great
fun but it isn't for the squeamish. If you're serious about completing nanowrimo then
you shouldn't be reading this but, for what it's worth, this is the method that works for
me. Here are some quick tips and dirty tricks to help get you through the month.
Do the Math
50,000 words in a month. That's only 1667 words per day - you can do that in an
hour if you leave your inner editor at the door. You're not "writing a novel", you're
writing 50,000 words. Don't panic at the thought of writing so much; break it down
into manageable chunks. A great novel is something written by Dostoevsky. A
nanowrimo novel is just 50,000 words. THAT'S ALL.
Are you a Tortoise or a Bunny?
Slow and steady wins the race, but hard and fast is also fun. Best not get hung up
about this. You're writing a novel, not having an orgasm. Aim to write 2,000 words
per day as quickly as you can. If you want to polish and refine them throughout the
day, knock yourself out. But once you've got your words done for the day, you're
clear. How you go about it and what you do afterwards is up to you.
Blog Post / Nanowrimo / James Garside / FINAL DRAFT / 01/04/2012 2
Think Slowly, Type Quickly
Set your watch. Try to write 2,000 words in an hour without stopping. It's the most
fun you can have in an hour - short of drugs or fucking. Sit down and knock them out
so fast that you don't have time to think, edit or fuss over what you're writing. Don't
stop until your time is up. Spend rest of the day scribbling notes and getting ready for
your next session. If it takes you all day to hit 2,000 words, TYPE FASTER.
Want to Increase Your Word Count? Lower Your Standards!
If you throw enough shit against the wall some of it will stick. These are words to live
by if you're a writer, or a monkey, and you have shit. Don't press delete until
December. If you write it wrong, just write it right next time. Pile them up. 'Don't get it
right, get it written.' No-one has to read your novel. Not even you. Take chances. Do
something random. It's ok to be crazy, absurd and fun - but screw literature.
Lost the Plot?
Don't get hung up on plot. You're just making a fix-up novel out of bits and pieces.
You don't even have to write them in the right order. Grab your story by the throat.
Write whatever scares or excites you the most. Any time you think, "I can't say that",
put it in. Keep your eye on the prize. You get across a pebbled beach fast if you
focus on the sea, as you run, not by worrying about your poor feet.
Take Out' Your Inner Editor
Your mind will come up with a billion excuses to stop writing and seductive things
you could do instead. Whatever it says, it's full of shit. Ignore it. Write anyway. If your
inner editor gets in the way, write down what it says. Turn it into a character with a
high squeaky voice and pink fluffy ears. Shoot it in the head. LAUGH! Then take it
out to dinner. Promise to spend December, red pen in hand, demolishing your novel.
Do Your Time Like a Good Peon
If one day in a fit of madness you write 20,000 words - that's great, but the very next
day, you go back to writing 2,000 words. No days off. If you don't have an hour, do it
in 15-minute chunks. But at the very least put in your set minimum every day. Tell
yourself whatever lies are necessary to keep your butt in the chair and you writing.
Don't Obsess About What Pen You Should Use
Use whatever writing tools are to hand. I need three things: tea, a notebook, and an
Alphasmart NEO. Tea's essential, notebooks don't die when you spill tea on them,
and the trusty NEO is where I write a shitty first draft. If you don't know why tea is
important, you're dead to me.
You Can't Edit A Blank Page
The notebook is your friend. Scribble your surface anxiety in the notebook, all the
mad stuff crowding your head. Include ideas for future scenes, lines of dialogue,
botched first attempts, anything that might belong in the novel later but is in the way
of what you need to write right now. That way you've already overcome the blank
page before you sit down to write. Use them as a starting point for your next session.
Malfunction! Need Input!
Not sure what to write? Allow random input to decide. Write down your dreams,
shuffle oblique strategies cards, roll dice, or pull in people and events from the world
around you. Whatever comes up -just trust it and go with it. Write in silence. It's
hard for your muse to whisper in your ear if you've got headphones on. Write offline.
Avoid the nanowrimo forums until you're done writing. Get your virtual hugs later.
Back Up Your Work
I know you're smart enough to do this, but writing 50,000 words from scratch sucks,
so backup to the point of paranoia and madness. I backup my NEO using Alphasync
to Dropbox. Keep a separate master document - a text file of your novel - to submit
to nanowrimo when you verify your wordcount. Make multiple backups. Losing your
work when some smug ass has already told you to backup is less fun than rewriting.
Back Up Your Sense of Humour
Check your funny fuse. Give your novel a title that makes you laugh. I once called
mine 'Fuck You Inner Editor!' Bludgeon to death anyone that tries to stop you writing,
with your novel, but only once you've verified your wordcount. Nanowrimo's meant to
be fun. Who cares if the end product is a bit shitty? It's compost. Look through it for
green shoots in December. It could hold the start of something wonderful.
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kSMagazine Feature / Interview with Toby King / By James Garside / 1
INTERVIEW: 'King Tobes' always gets final cut
James Garside meets Toby King, programmer of The Duke's After Dark at
Brighton's Duke of York's Picturehouse and unabashed cult film fanatic
Duke of York's Picturehouse have ditched trailers and adverts in favour of showing
short films from local filmmakers before late-night screenings of cult classics in The
Duke's After Dark. The move gains much needed exposure for independent and
student filmmakers and introduces their work to an appreciative audience. James
Garside interviewed Toby King, 'King Tobes' to his friends, to find out which short
films made the cut and his plans for The Duke's After Dark.
Tell us a little about yourself and how you got started with Duke of York's
Picturehouse and specifically Duke's After Dark.
I started working at The Duke's just over 2 years ago, because I needed a job and I
liked movies. One of my favourite aspects of the Duke's was its relatively diverse
programming, which included late night screenings of cult classics. However the
attendance for these shows was often quite low, as there wasn't much specific
marketing for them.
In the summer of 2010 (I think) we screened 'Sex and the City 2' for two weeks
straight (it was a quiet time for arthouse/indie films). We were actually really busy for
the first week, which I found surprising, as the film was terrible. Even the huge
audiences thought so.
Magazine Feature / Interview with Toby King / By James Garside / 2
Around this time there was a lot of buzz around a certain horror movie called 'The
Human Centipede.' I thought if a terrible film like SATC2 can sell out for a week, then
surely an appalling trendy horror movie could as well. So I took to Facebook and set
a group to generate interest in showing The Human Centipede. Over 700 people
joined it, and so our manager and programmer agreed to put it on (I think this was
the first screening of the film in UK outside of Horror Film festivals). Sure enough it
sold out and was a huge success for us.
After I did a marketing internship at Picturehouse head office at the start of 2011,1
was allocated a bi-monthly late night slot at the Duke's. Myself and one of the
Picturehouse's design team, Tim Willis, came on board. We chose the films, he
designed the posters/flyers and I dealt with the marketing and promo. Our first show
in the summer of 2011 was THE LOST BOYS. It wasn't a sell out, but we shifted
over 150 tickets, then followed JAWS which sold better, then screenings of ALIENS
and PULP FICTION both of which sold out.
How would you describe The Duke's After Dark to someone who's never been
before? What should they expect?
Firstly The Duke's After Dark is all about seeing a great film in a cinema with a great
crowd. This is the simplest and most important part of the whole thing. For me these
simplest of things don't exist in modern cinema-going.
Multiplexes are grim, bland places often half empty and fail to capture or harness
whatever vibe the film you're watching is giving off. The Duke of York's is a very
special kind of cinema because you actually get a cinema experience, even small
aspects like the building, or simply being able to buy a beer (or slice of cake) makes
it more personal or memorable.
At The Duke's After Dark it's about capturing the uniqueness of the Duke's as a
venue, but also being a bit more laid back, a bit more rowdy. The films we program
are to be watched with a lively crowd. Cheering, booing, laughing, applauding are
strongly encouraged. As we screen films that most of the audiences have seen
numerous times and know scene for scene what's coming. When we screened
JAWS I don't think there was anyone in the house that didn't quote out loud, "We're
gonna need a bigger boat!"
How long has The Duke's After Dark been going and what kind of response
have you received?
So yeah, it stared first with THE HUMAN CENTIPEDE and a screening of
JURASSIC PARK in early 2011, but its only really been The Duke's After Dark since
THE LOST BOYS show last summer. The response has been fantastic, each show
has sold really well and two have sold out.
It's kinda scary because the bar has been set high now. But it's very rewarding
knowing that there is a market for this kind of late night cinema. It's great that people
still want to see these films on a big screen with a crowd when they could easily
pirate them off the internet and watch them alone in bed.
What gave you the idea to put short films on before the main feature and what
do you hope to achieve through this?
The short film idea came from a conversation with one of Picturehouse cinema's
programmers, and it was a great idea. Anyone can make a short film now, but most
of these will only live on YouTube.
So it's nice to be able to get someone's work up there on a massive screen in front of
a real life crowd. It's also a nod back to old days when cinema used to screen shorts
before films instead of twenty minutes of car adverts.
What do you think of short film as a medium or art form?
Short films are a tricky one. I've seen a lot and there are millions out there. It is
potentially a great art form. I mostly see it as a playground for creative types to flex
their muscles and try stuff out. I think it's great because there are literally no rules to
short films. You aren't catering to anyone's expectations, so you can do exactly what
you want to do, and the technology is out there for everyone to have a go.
Which independent filmmakers and short films have you screened so far and
what has the response been like from the audience or the filmmakers
themselves?
The first one was by my colleagues Jonathan Hyde and Abi Toll and was a music
video from Esben and the Witch. It was a great video that complemented the music
and the film screening itself perfectly.
I made a terrible little video to screen before JAWS, which was basically me and
some friends doing stupid stuff in the sea on the beach. It got a few laughs and
suited being screened before JAWS.
A friend of one of the projectionists supplied a weird little short for the ALIENS
screening; it was an entry into the Straight 8 competition. I still don't really know what
it was about, but it was called MOON EGG and looked real cool.
For PULP FICTION me and my friend (and local photographer) Sam Hiscox made a
film inspired by Godard's famous quote, 'all you need to make a movie is a girl and
gun.' It's called KASIA KASANOVA; it's pretty great even if I say so myself. We shot
on a Wednesday night, edited it Thursday and Friday and screened it at Duke's After
Dark on Saturday.
I was also lucky enough to get a trailer for a series of pulp books from Pulp Press; a
local publishing company who in specialise in contemporary pulp fiction. This trailer
was made by Kevin Mason at Create Studios in Brighton. I'm hoping to get more of
their work shown here too.
The incredible TINY DANCER screened before THE WARRIORS was another
creation of Sam Hiscox and Matt Martin (who also works at Create Studios). There is
a twenty minute edit of it somewhere; but like his dancing, I'm not sure the world is
ready for that yet. If and when the follow up comes out The Duke's After Dark will
have it first.
The audience seems to really like all the shorts we've shown; all get a good
response. All the filmmakers seem to enjoy seeing their work in a way that's
completely different from seeing it on the computer. Hopefully one day the next
Tarantino can be traced back to The Duke's After Dark.
What sets Duke of York's Picturehouse apart from the multiplexes, and how do
you compete with them?
Simply, we show better films and have better staff (because we are encouraged to
be -1 don't want to knock anyone at the Odeon, I'm sure they're good people too).
Because the Duke's is such a unique building and cinema in this day and age, I think
people get more of a vibe when coming here.
Multiplexes are soulless and dry places; filmmaker Steve McQueen recently said
modern cinemas are like gyms. It's a bit like Guerrilla warfare. We use the big bad
enemy's weakness to our advantage. And I'm sure being able to get a beer at the
Duke's helps too.
What can independent and local cinemas do to stay relevant in the digital age?
What can people get from Duke of York's that they can't get at home?
Well, we are digital too, we have digital projector and server, we have 3D (we still
have the 35mm stuff too). As long as films are made cinemas will be there to show
them. Home entertainment is incredible nowadays, but it will never ever compare to
the cinema. I think this is something that local cinemas need to remind people of.
Cinemas and the films have the potential to really have an affect on people.
I mean we sold out a screening of PULP FICTION. Nearly everyone I know has it on
DVD, it's probably illegally available on YouTube, it was on TV a few days before we
screened it and it still sold out. Sure marketing and word of mouth were essential to
this success, but people wouldn't come if they didn't love the film and love the idea of
seeing it in the cinema. I think what cinemas have to do is make that 'cinema idea' a
reality again.
What are the highlights of your upcoming schedule? What's next for you or
your plans for Duke's After Dark?
The Duke's After Dark will still be happening bi-monthly (and the next one will be
FIGHT CLUB on the 2nd March), but it's kind of merging with all the other late night
shows and special events coming up at the Duke's. Hopefully this will involve having
short films shown before every late night show, and possibly getting special guests
and experts in to introduce and talk about the films too.
We're also very excited about the screening of David Lynch's MULHOLLAND DRIVE
on the 24th February. I'm working on something with The Green Door store (a music
venue beneath Brighton Train Station). But I can't confirm anything yet. We should
be having a skate movie made by some local skaters coming up in the summer too.
I'm also looking into screening films in other venues, kind of like a Secret Cinema
thing except this will be no secret; people will know what's happening. But it's very
early days yet, so I'll say no more.
FACTFILE
The Duke's opened in 1910, is the UK's oldest operating cinema, and has shown
films for over 100 years.
The Grade II listed building was a purpose-built Picture Palace and is famous for its
Edwardian architecture.
The cinema has digital and 35mm projectors, sofa seats in the balcony, and a fully
licensed bar.
The Duke's is a mainstay of the Brighton film festival CineCity and also a venue for
all night movie marathons and live music events.
Duke of York's Picturehouse, Preston Circus, Brighton. Call 0871 902 5728 or visit
www.picturehouses.co.uk/cinema/Duke_Of_Yorks to find out about membership and
the latest showings.
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NCTJ Public Affairs News Feature
Name:
James Garside
Topic
(must be related
to the NCTJ public
affairs syllabus and
agreed with course
tutor)
Feature previewing the 'High Level Conference on the Future of the
European Court of Human Rights' - Brighton Centre, 18-20th April where
the Brighton Declaration will be ratified. ECHR, Council of Europe, and
Human Rights Act 1998 were all covered on NCTJ public affairs
syllabus. As was the controversy when the court denied the British
Government's right to deport Abu Qatada to Jordan on terrorist charges;
which Human Rights groups argue is behind Cameron's push for reform.
News rationale
Why is this a
relevant topic for
publication/broad
cast (150 -200
words)
A prestigious event for Brighton, this is set to be the cornerstone /
signature event of David Cameron's push to reform the court whilst the
UK is chair of Council of Europe. The 12-page Brighton Declaration that
lays out the reforms (and is of course named after Brighton) could
impact upon the furtherance of Human Rights issues for years to come.
The local angle of 'what this means for Brighton' will be used as an entry
point to the much bigger story of what this means for the future of the
European Court of Human Rights. All 47 member countries have
previously voted unanimously on the need for reform to deal with the
Court's burgeoning caseload, at the Interlaken and Izmir conferences,
but have yet to agree on a way forward. The preview of the conference
enables a timely discussion of these issues and the case for a UK Bill of
Rights. This is very much a human interest story as it will have far
reaching consequences for the access of individuals to the court, such
as in countries with poor human rights records. Local interviews will tie it
back to Brighton. The fact that Brighton Centre was previously host to
the Eurovision song contest (arguably the last key European decision
made in Brighton) could be used as a counterpoint to lighten the tone.
Publishing format
Print/radio/online/
video
In print and online. Online would have link to audio of David Cameron's
speech to the Court in Strasbourg on January 2012 which set the
agenda for reform at start of UK's 6 months chair of Council of Europe.
What sources will
you use to
research your
feature and who
will you interview?
I will interview / speak with a Brighton MEP, a Human Rights lecturer at
Sussex Uni, and key representatives of Brighton Council, Council of
Europe, and Human Rights organisations such as Amnesty
International. I'll also try to contact Sussex Police and the Brighton
Centre to research what preparations were made for the event.
I declare this represents my own work and all
primary and secondary sources have been
acknowledged.
Signed
Student
ly^
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Signed
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Tutor: (,
Date: jM^ ) (<g_
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Structure:
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James Garside / PA Feature / Final Draft 1
HUMAN RIGHTS ON THE BEACH?
James Garside
The future of Human Rights will be decided at the seaside when Brighton
hosts the High Level Conference on the Future of the European Court of
Human Rights on 18-21 April at the Brighton Centre.
The venue previously hosted the 19th Eurovision song contest, arguably the
last European issue to be decided in Brighton, which ABBA won in 1974.
Representatives of the 47 member states of the Council of Europe will ratify a
package of reforms to the Court as detailed in the Brighton Declaration.
The Conference follows the Izmir and Interlaken conferences in Turkey and
Switzerland where member states voted unanimously for reforms to
streamline the Court and reduce its backlog of over 150,000 cases.
Rebecca Edwards, Brighton Centre, said: "The event is very important to the
Brighton Centre and it is an honour to welcome the Council of Europe to our
venue and city."
Tourism and industry in the city will benefit from delegates frequenting local
restaurants and cafes when not in conference, staying in local hotels and
using major attractions such as Brighton Museum, The Royal Pavilion and
Brighton Pier for social events.
Simon Ellery, a Brighton & Hove City Council spokesperson, said: "The
Council of Europe Conference is a highly prestigious event that is estimated
to be worth more than £1 million to the city in spending and global exposure.
The publicity around this event and the Brighton Declaration itself helps
strengthen Brighton & Hove's credentials as a leading conference city across
Europe."
Prime Minister David Cameron prioritised reform of the European Court of
Human Rights when he addressed the Parliamentary Assembly of the Council
of Europe in Strasbourg in January.
Cameron said: "The Court should be free to deal with the most serious
violations of human rights. It should not be swamped with an endless backlog
of cases. The Court should ensure that the right to individual petition counts,
but it should not act as a small claims court."
The Brighton conference is the signature event in the UK's chairmanship of
the Council of Europe, before it hands over to Albania in May, but Cameron
won't be in attendance.
In January the Court overturned the British government's ban on prisoner
voting and halted the extradition of radical Islamist cleric Abu Qatada to
Jordan on terror charges.
Leading human rights organisations including Amnesty International claim
Cameron wants to see reform in order to chastise the Court and stop it
interfering with UK policy.
Tara Lyle, Policy Adviser at Amnesty International UK, said: "It is clear that
the British government are thinking exclusively of the decisions which have
gone against them and are lashing out to prevent the Court from further
perceived interference."
Cameron may want the Court cut off at the knees over Abu Qatada, or slights
against Parliamentary Sovereignty and the Rule of Law, but pressure groups
hold him to account.
Amnesty International recognised the need for reforms outlined in the
Brighton Declaration but criticised the lack of consultation over the document
and the exclusion of civil society from the conference.
Cathie Burton, a spokesperson for the Council of Europe, said: "The
conference is a ministerial conference, so it would not be the appropriate
arena. However, many representatives of civil society have been involved in
the debates on reform of the court, and we welcome their input."
The Brighton Declaration includes proposals to write the principles of
'subsidiarity' and 'margin of appreciation' into the European Convention on
Human Rights.
This would mean more cases were decided at a national level, instead of
being heard by the Court, and allow states greater freedom to decide how to
apply the Convention.
Other proposals intended to reduce the Court's workload include tightening
admissibility criteria for cases and reducing the six-month time limit in which
applications can be brought.
Prof. Marie Dembour, a Human Rights Lecturer at Sussex University and part
of a group of Sussex Law academics that scrutinised the final draft, said: "A
lot was geared at being able to say to the British electorate the government
was doing something rather than proposing reforms with a chance of passing
at European level."
A draft of the Brighton Declaration was leaked to the public in March and
watered down in subsequent revisions to the point where some opponents
dismissed it as a washout.
Nigel Farage, UKIP Leader and MEP, said: "Looking through the provisions, I
fail to find anything very significant. In general the Court grinds on as before,
eroding the authority of democratically accountable governments and
augmenting the authority of democratically unaccountable bodies."
Media coverage before the conference has played upon fears of Europe
'telling Brits what to do' but such critics have been accused of having their
heads buried in the sand.
Britain makes up only 2.4% of the Court's cases, few UK cases are ever
overturned, and the UK has made a positive contribution as chair of the
Council of Europe.
Cathie Burton, a spokesperson for the Council of Europe, said: "Reform of the
court was the most prominent element of the UK chairmanship, but there were
many other very positive results. Britain championed the rights of Lesbian,
Gay, Bisexual and Transsexual people, organising the first conference of its
type bringing together countries from different parts of Europe. It also worked
hard to promote regional and local democracy."
Political posturing aside activists and politicians agree that human rights are
sacrosanct and the chair of the Council of Europe should act in the best
interests of all member states.
David Cameron said: "We are not, and never will be, a country that walks on
by while human rights are trampled into the dust. This has a lot to do with
Britain's national character-a love of freedom, an instinctive loathing of overmighty authority - but it is also about our national interest: to live, to travel, to
trade in a more open and secure world."
The High Level Conference is a watershed moment for the Court, and a
landmark event for Brighton, but it's important that human rights don't get left
on the beach.
[1000 words, for immediate use, publication in print]
PULL QUOTES
"It is an honour to welcome the Council of Europe to our city"
"Event worth more than £1 million to the city in spending and global exposure"
"Britain worked hard to promote regional and local democracy"
PICTURES
A partially collapsed sandcastle with a Council of Europe /UK flag
Secretary Ken Clarke on Brighton beach, shirt sleeves rolled up
Shots of delegates with Brighton Pier or The Brighton Centre in view
TIMELINE OF KEY AGREEMENTS
5 MAY 1949
Council of Europe founded by Treaty of London
3 SEPTEMBER 1953
European Convention on Human Rights ratified
21 JANUARY 1959
European Court of Human Rights established under Article 19
1 NOVEMBER 1998
European Commission of Human Rights abolished under Protocol 11
18 FEBRUARY 2010
Russia ratified Protocol 14 for the Protection of Human Rights
18-19 FEBRUARY 2010
Interlaken Conference, Switzerland on future of the Court of Human Rights
26-27 APRIL 2011
Izmir Conference, Turkey - 'Izmir Declaration' adopted by Council of Europe
18-21 ARPIL 2012
Brighton Declaration to be ratified at High Level Conference
FACT FILE ON THE COUNCIL OF EUROPE
The Council of Europe promotes cooperation between all European countries
in democratic development, the rule of law and the furtherance of human
rights.
Founded in 1949 in the aftermath of World War II, the Council of Europe has
47 member states with over 800 million citizens.
Although they share the same flag and anthem the Council of Europe is
separate from the European Union and cannot pass binding laws.
All members must adhere to the European Convention on Human Rights,
including the right to life, liberty, security, fair trial, freedom of expression, and
the prohibition of slavery and torture.
The council oversees the European Court of Human Rights, which reviews
human rights cases brought against member states and enforces the
European Convention on Human Rights.
FACT FILE ON THE EUROPEAN COURT OF HUMAN RIGHTS
The Court protects the human rights of European citizens as established in
the European Convention on Human Rights.
The European Court of Human Rights is separate to the European Court of
Justice, the European Union's highest court, whose remit is European Union
law.
The Court, based in Strasbourg, has changed the landscape across Europe
and improved standards in many areas including civil liberties and political
freedoms.
The court considers cases brought against member countries, which are
bound by the European Convention on Human Rights.
In the UK the Court has upheld the right to privacy, defended the right of
journalists to write stories in the national interest, and championed reform of
the laws on homosexuality.
Internationally, the Court has dealt with serious human rights violations
including discrimination, mistreatment of prisoners, torture and abuse.
Member countries are expected to comply with the Court's verdicts, although
this isn't enforceable by the Court.

nctj - select portfolio (condensed)

Transcription

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